Σελίδες

Παρασκευή, 12 Νοεμβρίου 2010

After the deathwish of Pat Garrett & Billy the Kid, it's logical that the spirit of a dead man should dominate its successor. And for a director so preoccupied with male virility, it's hardly surprising that Peckinpah has made a film primarily about impotence: Oates, a washed-up American bar-room pianist, hunts for the head of the stud Garcia and for his own machismo

With its small cast, character-driven story, and modest production values, Sam Peckinpah's first feature film seems very like another of his TV Western dramas--just one that happened to get shot in Panavision. The director's favorite TV actor, Brian Keith, plays a surly loner named Yellowleg who ventures into Indian country with a dance-hall girl (Maureen O'Hara), the corpse of her little boy, and a pair of marginally human specimens (Steve Cochran and Chill Wills) who more than justify the title. Everybody has, or seems to have, a guilty or shameful secret: Why does

SYNOPSIS
Peckinpah demonstrated a sense of humor in THE BALLAD OF CABLE HOGUE that had not been seen since his early TV days when he ran one of the best and most overlooked cowboy shows ever, "The Westerner," starring Brian Keith. CABLE HOGUE is at its best when chronicling how the Old West passed and mercantilism spread across the Great Plains.
Robards is a prospector abandoned in the desert and left to die by Martin and Jones. (They worked together again that same year in

Vincent Canby @ The New York Times, Feb 17, 1972 wrote:Probably no man, not even Norman Mailer, will ever have the last word on women's liberation, but until ones does, perhaps the Andy Warhol-Paul Morrissey "Women in Revolt" will do. The movie is called a comedy, but it can be more accurately described as

Κυριακή, 7 Νοεμβρίου 2010

Hong Kong director Wong Kar-Wai's stylistic masterpiece. A thematic sequel to "Chungking Express," Fallen Angels explores the lives of a number of Hong Kong ne'er-do-wells as they try to find love and money in the desperate streets of the city. This bittersweetly romantic film features a kaleidoscopic display of cinematography, camera angles and editing. KINORapidshare.com (7 * 100 MB + 27.8 MB)

This film, made in the summer of 1960 by the sociologist Edgar Morin and the ethnographer Jean Rouch, aimed to be as 'true as a documentary, but with the content of a fiction film.' Facilitated by improved technology (16mm film, sync sound, light hand held cameras) it pioneered a direct or live aesthetic dubbed 'cinema verite'. It was to film 'true life', but engage on a subjective level, getting people to talk about their experiences and ambitions, and most notably, whether or not they are happy. IMDb

With Toute la mémoire du monde, Resnais is setting the basis of his cinematographic project about places of memory. Within 20 minutes, Resnais is surgically, methodically analyzing the national library of France. With an hyperactive camera, he's sneaking, he's smelling, he's feeling this huge building. IMDb

Lars von Trier-Epidemic (1987)
1469.9 MB | 1:41:49 | Danish/English with Eng. s/t | XviD, 1720 Kb/s | 656x400
From controversial director Lars von Trier comes the bizarre story of a director (played by von Trier himself) and a writer who create a script about a mysterious plague that engulfs Europe, only to find their horrific scenario coming true in real life. Featuring Udo Kier, Epidemic is a dark and original horror film with a twist: Is the epidemic real, or is it only a dark figment of von Trier's imagination?

"This is the story of a man marked by an image of his childhood," begins La Jetee (1962), one of the most instantly recognizable and acclaimed short films ever made. Using only still photographs, voiceover narration, sound effects and music, it tells the story of a World War III survivor whose vivid memories make him the subject of time travel experiments. In only one shot of the film--that of "the Woman" opening her eyes in the morning--does the image move. Through such deceptively simple means Chris Marker explores the paradoxes of time travel and, on a deeper philosophical level, the relationships between image and memory, and word and image.